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Why do you transcode it? Can't you generate Optimized Media inside Resolve? I think it's much easier this way.

I'm afraid they already did.. Jokes aside - if the video is recorded and framed while having 2.35:1 in mind (frame guides, external monitors, etc) - it's cool. Definitely helps to forget about the videoish aspects. But slapping black bars on everything without giving it a second thought (resulting in awkward compositions or some chopped heads) is a no-no for me. I think it's just a phase, though. Everyone has to go through it. I'm guilty of this myself. Just like you said: We just keep on learning and noticing new new things. And that's good.

After 6 goddamn years?

Now, that's justified and definitely helps set the tone and make the 'cinematic' part stand out. I like it. Craig Adams seems like a really nice guy. Someone, with whom you could gladly have a chat and make some silly jokes. I'll definitely check it. Just let me get some solar viewing glasses. ? I've seen it! And right then the whole aspect ratio thing felt just spot on. One of the moments when I smiled and thought: 'that's a proper cinematography, wow'. Truth be told: neither did I notice. ?

I have recently noticed that more and more videos (usually ads) are following quite a new editing trend - using different aspect ratios, usually to stylise some parts of the footage to look like it was shot on film. Here are some examples: What do you think of it? To me, it looks really distracting, chaotic almost. I guess I'm not the target audience - most of the youngsters nowadays really like flashy, popping-out things.

That's quite a surprise.. To my way of thinking, it should be like this: I have a (hypothetical) 55/1.8 lens on my (hypothetical) a7R IV. This gives me a DOF of (let's say) 80 cm. The framing is a bit wide for me, so I turn on S35 (APS-C) mode. I don't get any closer to the subject, don't change the aperture - everything stays the same apart from the fact that I'm using a smaller crop of my sensor. Do my DOF change? No.

It mostly depends on my mood, but there are some 'safe bets' that always get me.. Just like in movies, I love songs that have some deep, hidden meaning. Things that show a lot of thought was put into making them. Here is one of my favourites. ATTENTION: melancholy incoming.

Funny thing is: the DOF calculator I use (https://dofsimulator.net/en/), shows it, too.. What's even more strange, the hyperfocal distance is different than what you get at PhotoPills.

But OP didn't change the subject distance between the cameras, so.. @Stab, you are 100% correct. DOF should remain the same. Some great article about the issue: https://fstoppers.com/education/understanding-how-sensor-size-affects-depth-field-312599

I'd definitely help if it weren't for the fact that I'm a total layperson in electronics. The only thing I can say is: My engineer friend managed to produce me a functioning cable release for X-T3 using this cable: (since I had one of these just laying around) And this scheme: How on earth did he do it - I don't know. But thanks to him I've got a nice looking remote that I attached to my top handle so that I no longer have to touch the camera at all, while recording.

@kye, I share many of your views on cinematography (sometimes I'm even scared to see just how alike we think ? ), but right now, in my humble opinion, you're digging deep into the search of a holy grail. Sure - every time I get a new lens, I take it out and shoot dozens of photos wide open, only to see if I like its character. Then I come back to my PC, examine every RAW file thoroughly (pixel peeping FTW) and decide whether I've got a keeper. And more often than not, I'm happy with my purchase. Though, I have to admit I spend hours on research before buying anything. Like I said before, I'm more a photographer than a videographer (80/20% I'd say) - and that's why I firstly look at lens's qualities in photo mode. If I enjoy it, then I'm 100% sure I'll have no issues with its rendering during video shooting. Right now, my most expensive lens (apart from an anamorphic adapter) is Minolta Rokkor 58/1.4, which I bought for ~100$. The second one is newly acquired Nikkor 35/1.8 DX - 90$.. All my lenses are fully manual, lol.

It may seem impressive on paper, but still - I, myself, wouldn't trust any kind of AF during interview shooting. Especially with a close-up like this. Too many things could go wrong and most of the times you don't have any chance to reshoot.

Can't wait for this to happen, then. ( :

Hahahahha Unfortunately - no, I am not. Just a fellow Polish hobbyist. ( :

Yup, open gate would be a dream come true.. Remember, you can submit all your wishes and features you'd like to see in future updates here: https://www.fujifilm.com/contact/

https://www.eoshd.com/2019/07/sony-the-new-canon/

Supposedly: "Shot on Atlas Orion for Anamorphic and TRIBE7 Blackwing T Series (Binaries) for spherical."

Shot on LUMIX S1H https://www.youtube.com/watch?v=MK8NvJ9pdKc

https://moviesincolor.com/archive https://film-grab.com

At f/8 almost every lens shows a very similar contrast levels, sharpness, microcontrast, flare resistance, vignetting, etc. I think you wouldn't be able to distinguish 20$ Helios from 250$ Zeiss if both were set to f/8.

This is super cool.

New Viltrox lenses coming..

via sonyalpharumors.com a6700 - same sensor as a6400? Meaning, it's the sensor from a6300? Meaning - from February 2016? As Andrew said - Sony, the new Canon?

I think it'd be best, if you either put some photo samples for us to confirm, whether it's scope's fault OR just contact the seller. To my knowledge, no-one has ever had to tune their Ultra Star or posted any information about approaching this dilemma. BTW: In my opinion (any many people share this belief), anamorphicstore is a huge rip-off, but it's a free country and everyone chooses what they like.